Offerings
Each section below offers a closer look at how I create, collaborate, and cultivate work—click to expand and explore.
Offerings
Each section below offers a closer look at how I create, collaborate, and cultivate work—click to expand and explore.
I’m deeply inspired by folklore from around the world, fascinated by how stories pass history, traditions, and beliefs from one generation to the next. My writing weaves themes of identity, colorism, the spectrum of Blackness, mental health, privilege, and the corruption of power. Like the fables that shaped me, I aim to create legends and myths that resonate beyond my own life.
In my work, I seek new ways for others to experience the tangled circuitry of my mind, where neurodivergence refracts the world into something sharper, stranger, and more revealing. I create characters whose stories outlive me—voices that echo forward, resonating in the hearts and minds of those who encounter them. I am drawn to the macabre, compelled by questions of disconnection: where it begins, what sustains it, and whether it can ever be repaired—or reimagined into something new.
I am a mother of monsters, giving birth to new forms of the familiar horrors we live with every day. I create monsters—not only the ones that lurk beneath the bed, but the ones who tuck you in at night, whispering promises of safety and peace. I am drawn to monsters that thrive in daylight, wrapped in bright colors, not just grayscale. They are my children, guiding me through my own world and the worlds of others—illuminating parts of life I cannot fully connect with and teaching me how to understand.
I’m always asking how to engage all of our senses to create unique experiences. Soundscapes—often made with “found sound”—become characters of their own, occupying physical space, while movement and physical motifs—like music—allow characters to express what words cannot.
I am deeply in love with the new play development process. I am drawn to playwrights interested in experimenting with structure and form through different lenses, histories, and experiences.
As a collaborator, I am both a protector of the writer’s instincts and intentions and someone who holds them accountable for the impact of their storytelling. My neurodivergence leads me to find patterns that create balance—or intentional imbalance. My support for writers comes in many forms, including margin notes, detailed scene charts, writing coaching and script consultations, roadmaps for next steps, dynamic research packets, and hosting feedback sessions or talkbacks.
I believe a dramaturg is a creative partner who brings insight, guidance, and generative offerings to the writer’s world. I am more than another pair of eyes. I am your first audience member: deeply informed about the experience you’re trying to create, while also approaching each reading, workshop, or performance with a fresh perspective.
I am not in the business of telling you whether your play is good or bad, and I can’t promise to make it “better.” Instead, my mission is to ensure that your intentions are clear and that the story is clear, accessible, and compelling enough for an audience to invest in their first encounter with it.
As a dramaturg, I am committed to helping writers tell the story they want to tell, in the way they want to tell it.
I am an educator and curriculum designer who creates student-centered learning experiences and adaptable materials for fellow instructors. I love using theatre and the arts to teach history, STEM, and abstract concepts, inviting students to lead with curiosity and recognizing that every learner’s approach is unique—and a superpower to be celebrated and treated responsibly.
My work moves beyond traditional learning styles, looking at students holistically and considering how lived experience, observation, and future application shape the way we engage with knowledge. Grounded in the belief that every student deserves to feel seen and actively engaged, I design learning environments that prioritize exploration, individual interpretation, and accessibility—adapting my approach to students and creating tools that empower other instructors to do the same. When students recognize their own learning processes, they become more willing to take risks, ask questions, and participate fully.
I have experience creating content for learners of all ages, from pre-school to adults, including scripts and short stories to explore historical events or abstract concepts, educational materials linked to artistic works, and interactive packets that allow students to follow their curiosity and choose their own learning path.
Ultimately, my goal is to create—and help others create—learning spaces where students feel empowered to use their strengths, take ownership of their growth, and approach challenges with confidence.






“It is with no hyperbole that I say: every time I need to hire a dramaturg, Alayna comes to mind first. Not only is she a lovely human who is a joy to work with, she understands. That understanding branches into many areas: her understanding of structure and playwriting practice is deep; her understanding of what it means to take a play from drafts into rehearsal and onto stage is hard won by putting in years of work shepherding plays into production; her understanding of how humans talk and think and act is as wide as her heart is warm. All in all, anyone would be lucky to work with Alayna. Five stars, A+, would hire again in a heartbeat.”
Laura Leffler, Artistic Director, History Theater
“I had the pleasure of working with Alayna as a dramaturg during the early development of my play Horsegirl & Cowdaddy at Seven Devils Playwrights Conference. Alayna was an invaluable thought partner in helping me untangle the play’s metaphors and understand the piece’s structural implications. She has a keen eye for detail, a genuine curiosity when approaching new work, and a generous spirit. Any writer would be lucky to work with her.”
DJ Hills, playwright
“Alayna has a sharp mind, and she naturally understands how to frame questions to bring out the best in a playwright. She has been my go-to dramaturgical collaborator on Paranormal Inside, from its first table read and staged reading, through a developmental workshop, and into its world premiere production. I look forward to working with her again, as the play continues its rolling journey.” Paranormal Inside is a recipient of the Los Angeles New Play Project Award.
Prince Gomolvilas, playwright
“Alayna Jacqueline is a master of structure. No world is too weird, no premise too absurd; Alayna’s curiosity, creativity and persistence make her an excellent dramaturgical teammate. I know I’m in good hands when she’s in the room.”
Rachel Teagle, playwright
